Summer Project.

For my summer project as part of my fine art course I had to research three artists:

One that is on the Turner Prize 2013 Shortlist

One that I have visited in a gallery

One that I have seen in an art book or magazine

Turner Prize Shortlist 2013:

David Shrigley

English Artist

(1968- )

2013 Turner Prize Shortlist

  David Shrigley, Pointing Hand, Bronze, 2008

 He was born in Macclesfield, tall at 6’ 7” and studied at Glasgow School of Art from 1988 to 1991.  He grew up with supportive parents who approved of him becoming an artist.

He states the obvious almost in a childlike way, in the sense of the choice of words, font, simplicity, drawing and understanding yet aimed towards adults. This is due to the humour he uses, the trickery in it and the language he uses (swearing). He works on the idea that everyday things, experiences and occasions can be turned into something humorous. The straightforwardness makes it witty and makes the audience think over the situation they have been in. He wants the audience to push their thoughts into something more not just the basic, it doesn't have to stay original and normal, and it can change. It doesn't have to be perfect; it looks like children’s drawings but after looking at it in more detail it is cleaver and smart. He questions reality, but gives it straight to the point. His main motivator is boredom; he switches media in order to do this.  His main focus is not making people laugh; he takes his work seriously not what you automatically see when viewing his work. His work is influenced by violence and cruelty, graffiti, human and sciences. Literature has had a bigger impact on his art the other artist and art pieces and takes notes from radio, music, internet, TV, film and books. Things that he found interesting as a child and has grown up with him is his main source of where his ideas come from.

David Shrigley, Untitled, Ink on paper, 1998, 

208x143mm

The text adds meaning and understanding to his work. He includes his mistakes and misspellings and he only likes to do the piece once so if he has made a mistake he works with it, as he feels it won’t get any better at a second attempt. His drawings have not changed since childhood. He makes his work as simple as it can be and likes to think that things have a personality, this then makes it unusual, and he feels that he isn't very good at portraying beauty.   

He makes me understand space, and using it well can have an effect on the quality of the work and that you don’t need to fill the whole space in order to get an impact. That the simplest things can be humorous and make the audience think. Also that it doesn't have to be loaded with colour to get the message across and using images and text together correctly can give a great overall piece. It’s as if his images can speak and the first thing that comes into his head he turns it into art; it does not matter if it is amusing or makes sense.  As everyone has different opinions some of his artwork may not work in the funny sense but will work in other forms. Impact to the audience can come from scale, subtleness and well used space.

Banksy, Pirate Treasure Map

His work reminds me of Banksy, the similarity in the comedy and that they can make images out of things already there, they just work with it. Their colour palette is similar as they both use dark colours, especially black with sometimes a hint of bright colours. In addition also the artist Tom Gauld, who makes a story out of his work although his is in a storyboard style and Shrigley just uses one image to paint the whole story. Again they both use dark colours in their work.    

Rene Magritte, The Collective Invention, 

1934

His main artist influence is Rene Magritte, with the minimalism of the humour that it doesn't have to be in your face to get your point across.

Plus the artist Philip Gaston has had an impact on his work due to his straightforwardness, and dry humour. Gary Larson is another influence, they are similar in humour and the way image and text come together to form one piece. They both don’t rely on the colour to make the piece and that the humour isn't over thought. They focus on standard everyday situations just turned it into art in a clever way to add the funny side.  Also Steve Bell has had an impact on him as they are very similar in style and humour. A writer Donald Barthelme has also impacted on his art.

David Shrigley, The Fallen Tree, 1996, 152x203mm

The press have given Shrigley both positive and negative comments this includes:

London Evening Standard (2013):

‘Humour taken seriously by judges’

Huffington Post (2013):

‘Cartoonist, scathing humour’

‘The early favourite’ (for the Turner Prize)

Tate (2013):

‘Black humour, macabre intelligence and infinite jest’

New Statesman (2013):

‘Light-hearted drawings’

‘Critics: bittersweet, badly drawn world of puns, paradoxes and profound insights’

David Shrigley, Light Switch, 2007, 

video 1min 29secs

When presenting his work he can go from one extreme to another. His work can be projected onto a blank wall on its own, if this is where he thinks it would naturally be found. He wants people to feel relaxed with something they are familiar with but twist it to fit in with his design. To make sure he uses all the space he uses the floor both for 3D and 2D work but does not put it there to fill the space it’s as if it was always meant to be there. If moved it is wrong. There is space to move around and look from a far but not as if the space is empty. Wherever he puts his artwork it has a sense of belonging, and can bring the outside in if needed, necessary for his work to feel natural. On the other hand his work could be all together, on certain walls his images are overlapping as if in a children’s bedroom with their work on the wall. It is information overload.   

Visited the Usher Gallery, Lincoln in summer 2013:

Susan Stockwell

English Artist

(1962- )

Susan Stockwell, Trayne, 1998, Life-size, 

Coffee filters, Coffee, Paper portion cups, Cotton thread

Stockwell was born in Manchester; she gained a MA in Sculpture at the Royal College of Art in 1993 and went on to get her BA (Hons) in Sculpture at Sheffield Hallam University. She exhibits in galleries and museums around the world; she is now based in London.

Susan Stockwell, Cartographic Dress, 2003, Life-size, 

Paper, Maps, Glue

Her focus in her art is ecology, geo-politics, global commerce and trade; her focal points are in relation with the world. This includes things that naturally have an impact on the earth and what mankind’s impact is to it. One of her key patterns is maps, as they hold communication and networks of society. She uses a selection of different materials that have different colours, fonts, and types of maps, this shows that one little change can have a big impact. She works with the effects of our culture and the shaping of it, from the past, present to the future. She mostly concentrates on transformation.   

Susan Stockwell, Cartographic Dress, 2003, Life-size, 

Paper, Maps, Glue

She can create small or large installations; these include drawings, sculptures and colleges. Her work is built from industrial and everyday domestic none reusable products that play a part in people’s lives. She changes the structure to fit in with her work in a specific way.  Some of her work is of borrowed materials then once she is done with it dismantles it and gives it back, temporary art. This then links in with her focus of what is happening within the world that different items can have different effects on the environment and what products people use can change the world. 

Susan Stockwell, Cartographic Dress, 2003, Life-size, Paper, Maps, Glue

I have found her work fascinating, as maps are intriguing in general due to the fact that there is so much to look at and understand that each place has a whole different way of living and understanding the world. There are also many different types of maps, world maps to London underground maps, and each one she changes in a specific way to make an overall stimulating piece. She picks a topic then uses a variety of materials, techniques and patterns to come up with different pieces that are visually appealing and makes interesting artwork. As she also works with layers this then makes it engaging when looking at the work from all angles, she does layering and overlapping in many ways so that it is not repetitive. I find it captivating that she can change something so normal into something intricate, a standard map into a dress, with detail and patterns. Overall I find her work absorbing as there is always more to it than meets the eye and the closer you look the more you realise the thought, time and process gone into it. I find it interesting way she uses subtle natural colours so that it isn't over powering.

Leo Sewell, Penguin

Her work reminds me of the artist Leo Sewell, this is due to the scrap and unused media that he uses to create his work. He finds old and unloved materials, specifically metal and plastics and turns it into something loved, particularly animals. His striking colour comes from the materials used; this is where the two artists differ, Stockwell uses more rustic, dark colours. Although his work is accurate and in proportion this then makes it more realistic, same as when Stockwell does his work accurately so when looking at it, it looks correct. Also the artist Nancy Judd, who makes clothes from recycled materials. Her work is similar to Stockwell not only with the materials they use but the fact that they have similar techniques in the way that they make a variety of patterns that suit the media used. She doesn't change the colours of the material, she works with what she has, and this then gives it a natural look. They both have the concept that anything can be made into something else if just given the correct workmanship. 

Eva Hesse, No title, 1970, Latex, rope, string, wire

244 x 549 x 92 cm 

Her artist influences are Meret Oppenheim and Eva Hesse this is because they both have their own way of interoperating the standard nature and characteristics of fine art. They do this by using a variety of different techniques and media and thinking outside the box, it doesn't have to stay black and white.  They work with the material and it looks effortless.

Her main source of inspiration is what she sees, especially when she travels not necessarily an artist. She likes to work with the idea of history, something that would have been seen in the past, but also works in the modern day.  She finds other places exciting due to the pace of the country, culture, and weather.

Susan Stockwell, 'World', 

2011, 6.5x4 m

Recycled computer components on plywood

The Yorkshire Post have stated that her work is ‘very unusual and striking to look at’ after making an African, Old English dress that was on display at the Burton Gallery, York. It was also said ‘those displays of work where you can draw lots of different meanings’. It was published July 2011.      

The Guardian has said she ‘misuses everyday objects and domestic materials to enchanting effect’ and ‘There's an aspect here of simply putting contrasting elements together to see what aesthetic and metaphorical charms might arise.’ It was published June 2010.

They understand where her ideas come from, the effect that recycled materials have an impact on the art and that it can be interpreted differently depending on the audience.

Susan Stockwell, Rubber Installation,

1991, 15 high x 32 long x 1 foot

Rubber

When displaying her work she wants the material to be absorbed by its location, but yet it manages to enter the 3D world and bring the material out of the wall. Her 3D work specifically her dresses can be seen from every angle so that the audience can get the full sense of drama and can see the craftsmanship involved. She uses the floor, walls and ceiling in her art sometimes altogether, this then makes it more theatrical due to the scale and you have a sense of well used space. 

Frieze Art Fair Yearbook 2009-10:

Prudencio Irazabal

(1954 - )

Spanish Artist

Prudencio Irazabal, Untitled-874, Acrylic on canvas,

 107x107 cm. 1995

He works from the idea of skin and layers; the paint is the symbol for the body. The patterns he uses is based on the human body yet changed to fit in with his work, anything can be made simple and colourful. Another main focus that he works on is light and colour and seeing what can be done with it and how the audience sees and feels to different colours. Also how different coloured and angled light can change the overall experience of looking at the painting. Furthermore he works with mystical abstraction and spiritual meaning.

Prudencio Irazabal, Untitled-4Z3, Acrylic on canvas,

 122x162 cm, 2004

He continues to develop his painting skills and the scales in which he works on. Practises to see what works and doesn’t, work on his mistakes and tries to find a balance between light and colour. He works with subtle fadedness of colour to deep block colour (not harsh and in your face); this is so that his work is bright yet fluid and calm as the brushstrokes are unseen and there is a delicacy with the connection of colours.  The main media that he uses is clear liquid polymer in which he adds gel to thicken it up, and then includes small amounts of pigments to make different colours which have different translucence qualities. He varies the amount of layers to differ the thickness, translucence’s and mirror like quality. He likes his work to have a contrast and let the colours to breath, he wants the audience to be drawn into the colours.  He concentrates on his own work to make unique compositions; this then makes each one individual because of the different amount of colour, tone and abstraction. His work has a link with music, such as the sound of waves that are involved in music. He does prints, photography, paintings and drawings.

I find his work interesting due to the simplicity of the artwork, it makes me question it and want to go and investigate. I can interpret each piece differently each time I see it, everyone who sees his artwork will have a different option on what they see in it. The colour he uses is calm and makes you feel relaxed, it’s not overwhelming and in your face but you still want to go and explore it. When you first view it, it is like your eyes have gone blurry, like you are seeing it in someone else’s eyes and all the colours are running together, it gives you a new view in art in general. The broken up colour can give it a rustic look, this then can make new patterns by itself and a whole new image than just standard colour.

Jules Olitski, Draky, 1966

120 x 92 inches, Acrylic on canvas 

His work reminds me of the artist Jules Olitski, this is due to the fact that he uses subtle colours that blend effortlessly together. Sometimes it feels as if you have to find the change in the colour, like ink running together. It looks like what you would see if you looked into the sky, and several of Irazabal artwork has the same trait. However some of Olitski’s work has a textured look, this brings the piece out and gives it more depth. Another artist is Rothko, who is famous for his use of colour; however his colour isn’t blended together in the same form as Irazabal. With Rothko’s work you can see where the colours join together, this shows you the defiant shape and is stricter and firm instead of Irazabal’s looseness, the colour just flows into one.

He has not necessarily been influenced by another artist in his work, it comes more from his own ideas and he solely focuses on his work not caring what others are thinking or doing. His work changes and develops due to the colours, transparent pattern and scale he uses so that it is not repetitive.       

Prudencio Irazabal, Omnia Pervia, Acrylic on canvas

 437x150 cm. 2010-2011

The press have given Irazabal a variety of comments and views, this includes:

Zing Magazine (New York, 1997):

‘His first New York solo show was a resounding success’

‘Various hues of colour seep in through each work’

Wirtz Gallery (2002):

‘The subject of Irazabal’s abstract paintings is the paint itself, and the glass-like surface.’

‘Achieves a remarkable depth and suggestion of space and light; shapes and colours coalesce and dissolve.’

Art Discover (2013):

‘Manages to produce a sensation of “out of focus” in his painting’

‘Aside from hiding, another central issue in Irazábal’s painting is the lack of focus, which launches a mobilization of the gaze, who’s normal fixation at a point becomes unstructured and begins to slide from one place to another without having a place in which stop or slow down.’

Prudencio Irazabal, Jack Shainman Gallery, New York 1998

He wants the audience to look at his paintings more closely and in more detail. At first glance it seems a very simple piece that has a glow like feel within the painting but this option can change. He makes and displays his work so that the audience play an important role and interact with it. Due to the colours and patterns used it makes the paintings welcoming and warm. He lets the work speak for itself. Makes the audience think of awareness, this is done my mixing imagination and emotion together. He uses a dark, big and empty space and brings light and colour to it in a delicate way. The way he displays his work allows people to step back from it and take it all in as well as being able to go and inspect it closely.